The Wagner Project: Die Meistersinger von Nürnberg

Wagner's longest opera happens to be one of the great comedies.
by Paul J. Pelkonen

A medieval woodcut depicting the city of Nuremberg.

In 1848, Wagner had two ideas for operas. One, the saga of the swan knight, became Lohengrin, the other was Die Meistersinger von Nürnberg ("The Mastersingers of Nuremberg." Meistersinger (as it is usually called) was sketched as a rustic comedy, kind of like Tannhäuser with less sex and a happy ending. 19 years later, when Die Meistersinger finally appeared, it became Wagner's longest opera, a profound reflection on the composer's own career and the search for the meaning of German art. It remains one of his most popular operas. And yes, it's a comedy.

Recordings Review: Thinking Outside the Sack

Dietrich Fischer-Dieskau as Rigoletto. 

by Paul J. Pelkonen

One had the feeling that the marketing department at DG weren't trying too hard to sell CDs with this cover,
which appeared on the initial 1980s pressing of this set. Image © Universal Classics. 

This 1964 La Scala recording of Rigoletto features the unusual choice of acclaimed German baritone Dietrich Fischer-Dieskau in the title role and Czech conductor Rafael Kubelik leading the proceedings. That sounded pretty strange when I first saw this set sitting on a shelf in a used CD store in Boston, but surprisingly it works.

CD Review: The Lost Parsifal

The salvation of a great recording consigned to the vaults. 

by Paul J. Pelkonen

Rafael Kubelik

Rafael Kubelik was a great conductor who received shabby treatment from the Deutsche Grammophon label. In 1967, his studio recording of Die Meistersinger was shelved to make room for another set starring Dietrich Fischer-Dieskau. History repeated itself in 1980, when this  crystalline Parsifal was banished to the vaults in favor of Herbert von Karajan's set with the Berlin Philharmonic. Released in 2003 by the small Arts Archives label, this set is now out of print, and remains a lost Grail for Wagner aficionados.

Recordings Review: The Great Wagner Escape

How the Kubelik Meistersinger escaped from obscurity. 
by Paul J. Pelkonen

Fear the beard: Dietrich Fischer-Dieskau as Hans Sachs in Die Meistersinger.
Photo © 1976 Deutsche Grammophon/Universal Music Group

Two recordings of the same opera are under scrutiny this week, and that opera is Wagner's sole comedy, the mighty Die Meistersinger von Nürnberg. (Yes, I know. Another Wagner article. If you're all very patient next week I'll be writing about Donizetti).

In 1967, Deutsche Grammophon eager to add a Meistersinger to its catalogue, commissioned conductor Rafael Kubelik and the Bavarian Radio Symphony Orchestra to record this opera. This was a live recording done in a theater with no audience. The set featured a solid cast, with Gundula Janowitz as Eva, baritone Thomas Stewart as Hans Sachs, Sandor Konya as Walther--great singers but not household names. However, this set was not released--it sat on the shelf until 1994.

That was a good year for classical music, and right before the end of the CD boom, when the market was getting flooded with "bootleg" recordings by small labels from Europe: Myto, Gala and Opera d'Oro. The first appearance of this Meistersinger was bootleg pressing was issued on CD by the tiny Italian label, Myto. Collectors snatched them up.

When the pricey Myto version disappeared, the Calig label issued a new version. This one was made from the actual DGG master tapes, and has the same clarity of sound as other contemporary DGG recordings.

This recording is currently available for a third time: on a German label, Arts Archives. Like many recordings made by Rafael Kubelik, this Meistersinger is conducted with a fresh approach to the music. Kubelik displays his usual command of rhythm, phrasing and texture, and the orchestra plays brilliantly. Stewart's performance as Hans Sachs is both genial and confident, and is one of the best recordings made by this underrated baritone.

With the Kubelik set completed (but relegated to the vault) baritone Dietrich Fischer-Dieskau entered into negotiations with DGG to record Meistersinger, with himself as Sachs. This set finally appeared in 1976, with veteran conductor Eugene Jochum on the podium leading the Deutche Oper Berlin forces. The recording has some wonderful orchestral playing but is marred by weak choral singing and a series of acoustical tricks by the Tonmeister (the echoing, boomy church acoustic in the opening scene is the biggest culprit) that distract the listener.

As for the cast, Fischer-Dieskau, better known for his achievements in lieder and art song, made some memorable Wagner recordings. This is one of his better ones. His Sachis is warm and resonant if a little fussy. Domingo is at sea here, struggling with the unfamilar German diction. Catarina ligendza is a disaster as Eva. However, charming orchestral playing, intelligent interpretation and the magnificent David of Roland Herman are all redeeming factors.

Here's a few others worth checking out:

• The 1950 London recording under Hans Knappertsbutsch features the sonorous Sachs of Paul Schöffler and some remarkable orchestral playing from the Viennese forces.
• The two Karajan recordings from EMI have much to recommend them--the set from Bayreuth in 1951 is excellent, the studio recording in the '70s has great stereo sound and a solid cast with Karajan leading the Dresden forces.
• Wolfgang Sawallisch's studio recording (also EMI--they have four in their catalogue) features Cheryl Studer and Ben Heppner as a raiant Eva and Walther. The set is marred by the slightly dry Sachs of Bernd Weikl who nevertheless sings the role with experience and good humor.